GoApe Issue #4 Mai 07

GoApe Issue #4 Mai 07
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Contact: [email protected]
The Ludic Society magazine appears in this edition in
print and in “Second Life” (a game or a play) – to
provoke a “World 3” phenomenon! The periodical’s
online presentation is a parallel “Hello World” event.
The members articles critically vivisect Second Life as
a hypothetical game system. Their focus is a playful
“Third Life”, according to Jorge Luis Borges´s "Orbis
Tertius" and Sir Karl Popper´s "World 3". Some recent
LS Real Plays, as at Social Hacking07, Plymouth, UK,
(RFID-implant play www.rfid-judgement-day.com) and
at DEAF07, Rotterdam (RFID-pimped mobile phone
game premiere at Rotheatre) serve as examples for
deviant gaming behaviour on borderlines of worlds.
Second Life appears as a benevolent dictatorship and
an unavoidable love&hate object of desire to the ludic
artist in flux. For that reason, back-to-back a World 3
investigation platform is constituted in 2007
– in the frame of an in-depth research
project hosted by the Interaction
Design (IAD)/ Game Design
(GD) department of the HGK
Zurich, also kindly supported
by Dr. Gerhard Blechinger –
and by the players in first life,
members of the Ludic Society,
also affiliated with the Games
Research Group of the local GD
academic Game Design strand.
At this point we especially would
like to thank Dr. Gerhard Buurmann
for his spontaneity and openness
towards speculative Third Life
science fiction ideas and his
joint venture with the LS in
the search for the
missing link between First and Second Life in the form
of a wearable toy object (namely the SL aura indicator
under development in World 3). We also take this
opportunity to show appreciation to the hosts of the
LS inside the belly of the SL beast, namely Odyssey
Arts gallery. The LS is also grateful to the owner of
the Third Death Poorhouse in SL, Hardware
Hacker Hoch, who was also model for this
issue and inspiration to Superfem Beebe.
To contrast an omnipresent euphoria,
we quote an early SL observation:
“Second Life is a benevolent dictatorship. If you were doing corporate business development in
emerging markets, political stability would be a key factor in measuring the attractiveness of a
potential new market. I think, if
given the choice, you’d rather
invest in a place with a representative government that has
proven to support smooth transition of power in the past. To me,
the fact that a very small group
of people basically dictates
what goes and what does
not in this market, a group
of people that is not beholden to the residents by
law, is a political risk.”
(Adamo Lanza, 2004)
3rd Life Playsure. Tertius Orbis Memorandum
Marguerite Charmante, LS co-founder and ludologist
"Different Place – Different Rules. Welcome to the
Third Place". David Lynch, spot for Playstation 2
Cosmo was a free player for a 3D chat world (VRML,
1997), which Second Life mimics today. Well, Blaxxun
Interactive, once the biggest community in “Diamond
Age” (Stephenson, 1995) style, became bankrupt in
2001. Influenced by “The Flower Garden of Sutra”
Buddhism already in 1994 Pesce/Parisi described the
conceptual model for a networked world of diamonds,
in which each reflects the other and its connections in
the Labyrinth paper at CERN Institute. Obviously the
time was not yet ripe then for such a general model of
an online life world in 1997 – although 1986 in Japan
the graphical MUD Habitat was widely successful. For
the western masses the idea had to wait till 2007, to
become World 3. Karl Popper conceptualized World 3
as produced by human minds. In MMPOGs, massive
multiplayer online games, the mind’s artefacts are
“synthetic objects” (Castronova, 2006), traded and
exchanged. In fact money systems, the simulacra
(Baudrillard, 1976) of signs without an reference, are
perfectly fitting to the bulb of Snow Crash millionaires.
Now this auspicated crash softly unbounds, unwraps
and deliberates into the poetic concept of a world that
strikes back from a fictional third, via a second to a
first reality: Uqbar!
To be able to decipher the following OU/LU/PO essay
(Ouvroir/Ludic/Potentielle), please accept the discrete
constraint: read the three texts (also provided on
ludic-society.net) and on Poorhouse in Second Life:
New Babylon, Constant, Den Haag 1974.
Orbis Tertius, J. L. Borges, Argentina 1940.
World 3, Karl Popper, Michigan 1978.
"Tertius" (Latin = third) is an allusion to World 3 (Karl
Popper, 1978) – the world of the products of the
human mind. Popper proposes in the course of the
“Tanner Lectures” a view of the universe that clearly
recognizes at least three different but interacting subuniverses. Physical ‘World 1’ interacts with ‘World 2’,
the mental or psychological world, the world of our
feelings of pain and of pleasure. World 3, the world of
the products of the human mind, emerges as an
evolutionary product from World 2. “Play sure”, as a
motto of the ludic player in 2nd world game systems,
uses World 3 conjectures or theories as instruments
of change. The Popperian cosmology appears as very
spartan juxtaposition to the idea of a second life as a
parallel universe of data-avatars and documents, a
metaverse à la Snow Crash (Neal Stephenson, 1992).
“The contact with and the use of Tloen (=Uqbar, Orbis
Tertius) corroded our world. Fascinated by its rigid
rules mankind forgets more and more that its
constraints are those of chess players and not these
of angels. ... This revision of an illusionary world is
temporarily called Orbis Tertius.”
(Jorge Luis Borges, 1940).
Ideas ultimately manifest themselves in the physical
world. More and more it elucidates that Uqbar and
Tlön are invented places, the work of a "benevolent
secret society” conceived in the early 17th century
and numbering George Berkeley (immaterialism,
1713) among its members. The new Orbis Tertius, the
New Babylon of a classless ludic society (Constant
Nieuwenhuis, 1964) is ludicly constructed by a secret
association of ludics. Their poetry never referred to
reality, but to the two imaginary regions of the World.
These and other imaginary regions are displayed on
SL minimaps, the overview map of the country in 1:1.
It is conjectured that this world is the work of players,
bloggers, journalists, traders, speculators, gamblers,
wiki-editors, boring locative arrow gamers on google
earth feeds, NintendoDS crackers, WII gamers, RFID
chippers, taggers and nemo. The map is so vast that
the contribution of each writer is infinitesimal.
In contextualising a systemic view of games as a set
of rules, Second Life does not fit well into the magic
circle of games, even though a blue oval stamp,
obviously indicating the “borders of a game world”
(Jesper Juul, 2003), with the inscription “Orbis
Tertius”, was found in the eleventh volume of an
encyclopaedia devoted to Tloen. Certainly some of
the Huizingian definitions of game as a temporal and
Orbis Tertius (Jorge Luis Borges, 1940) appears as a
world where the artefacts of man in an inscrutable 2nd
world break into the 1st and finally this world becomes
number 3. Literature in this world never referred to
reality, but to the two imaginary regions of the map,
described in the pirate copy of an encyclopaedia.
Wikipedia, Youtube, Myspace, Blogosphere and SL
are edited by a dictatorship of the masses (Balibar,
1976. Lenin, 1918). Although constructed by the
human mind (World 2), commonly all of these fictional
worlds are considered as windows and mirrors to a
first reality. But what is the first reality? For example
even Google Earth, as semi-public oligarchic space,
belongs to the fictional World 2 (as well as the game
maps of Alphaworlds games). A live feed of Second
Life screen-snapshots into Flickr is evidence of how
World 3 artefacts break currently into environments,
generally considered as World 1 (physical, because
Flickr is “real”), but which are more World 2, which is
according to Popper the world of our feelings of pain
and of pleasure. Play sure pleasure plissure!
The existence of an ebay exchange rate of World of
Warcraft (WoW) gold to US dollars is certainly a
collusion of World 2 and World 1. The “gameplay” of
money systems, derivate trade on stock markets as
we know it in our playsure of everyday life, first
blossomed in Florence and the de Medici business
world of the Renaissance. The same is also true of
calcio storico (soccer), introduced by Cosimo as a
football game on life and the city’s honour!
2
spatial environment such as the current Second Life
are applicable here – but even more elements of a
communications guerrilla (L. Blissett/ Brünzels, 1997)
are exemplified with its (press-faked) hype. Now the
time is right for the report on a fictional world that
makes the medium (game) invisible!
Blogjects, Spimes and Smartifacts (B. Sterling, 2005)
create 3rd Life Playsure. New heterotopologies and
trialectics of space, knowledge, and power (Michel
Foucault, 1986) are incorporated in massive online
worlds. So they unveil heterotopias of crisis and of
deviation. According to Henri Lefebvre´s Trialectics
common social spaces are simultaneously perceived,
conceived and lived. That´s why a spatial explanatory
model is often appropriated to cope with the new
online worlds. Although space is the place and 3D is
a crucial element towards the navigational sensations
and claims of presence – “Esse est percipi”=“To be is
to be perceived" (Berkley), as stated in the philosophy
of subjective idealism – the constructions in poetry
are more suitable to the game-object observed. The
Borgesian library of Babel gives ground to applied
ludic principals in investigating playing realities.
Finally Second Life remains attractive as a set of rules
(a game?), a willfully taken constraint, a bondage.
Like any good bondage it liberates us from freedom.
There is no E in a poem done by OULUPO rules! And
as rules ruleZ, we can anticipate the limitations of
chatworlds, their argument places, emptiness, and its
missing links to first life. The constraint as fetish object
merits bondages to game worlds. Accept a game as a
set of rules, then the Second Life world is a game, the
player is tied painfully close to the limitations of network traffic and access points. As surplus to those
limitations by the technological topography, a set of
trading rules is superimposed by a game industry
monopoly. Now the bond is strong enough that even
businessmen, anti-tech hustlers and a Jedermann
find SL equally attractive – for chatting and trading
with each other, for sex and 2ndLife Lollys.
References
Michel Foucault, 1986. Other Space. Paris.
Francois Le Lionnais/ Raymond Queneau, 1960.
L'Ouvroir de Littérature Potentielle (OuLiPo). Paris.
E. Balibar, 1976. Dictatorship of the Proletariat. Paris.
Alphaworlds, 1995. activeworlds.com.
Edward Castronova, 2006. Synthetic Worlds. Illinois.
Sandy Stone, 1993. What-Vampires-Know. Austin.
J. Baudrillard, 1976. Léchange symbolique et la mort.
George Berkely, 1713. Three Dialogues. London.
Jesper Juul, 2005. Half-Real. MIT Press.
L. Blissett, 1997. Handbuch Kommunikationsguerilla.
Bruce Sterling, 2005. Shaping Things. MIT Press.
Henri Lefebvre, 1991. The Production of Space. Paris.
Kodwo Eshun, 2002. Space is the Place. feat Sun Ra.
Hugo von Hofmannsthal, 1911. Jedermann. Das Spiel
vom Sterben des reichen Mannes. Berlin.
3
Commodified Play
Kristian Lukic, artist and kurator, kuda.org
Are MMO worlds ideal late capitalist machines based
on social interaction, play and cultural simulation, or
can they be seen as ideal social laboratories based
on social interaction, play and cultural simulation?
profit is gained from time/subscription selling and not
selling a game as the product). We can expect significant pressure from industry towards a faster setup of
telecommunication infrastructures in the underdeveloped South. For the first time in techno-culture, potential players/ workers in these countries will have
the same opportunity to earn the same while playing
like players in developed countries. But the future
“digital MMO divide” will remain between the vast
number of third world gamers who only “play” games,
while the production of games/worlds will mostly
remain in the hands of corporations from developed
countries, since the costs of creating and maintaining
virtual worlds rises more and more.
Jean-Francois Lyotard pointed out that capitalism,
technosciences and contemporary art share a so
called “affinity to infinity”, an affinity for an always
needed redefinition of products, breaking the barriers,
widening the horizon. In this sense, the question is
whether MMO worlds are, the question is, if MMO
worlds are highly competitive environments that foster
notions of leviathanism, where the liberal subject is in
the state of eternal war, or is it a place for virtual
experimentation of social self-organization with huge
democratic capacities? Is a MMO an ideal late
capitalist machine based on social interaction, play
and cultural simulation, or are MMOs an ideal social
laboratory based on interaction, play and cultural
simulation? But as MMOs reflect the 1st Life societies
the answer is probably both!
Since new situations generally provide artists and
activists with new possibilities, one is certainly found
in exploring the given MMO’s, creating content inside
or subverting and modifying existing ones. Since
MMO’s have a certain “materiality” in a sense of
simulated 3D worlds, certain numbers of players can
be gathered in one place, thus creating powerful tools
for influencing the producer/ designer’s internal game
politics (the number of players that can be in the same
place in a virtual world is still limited; some
experiences show that a critical number in Second
Life, for example, is around 40). Another possibility
can be to think about alternatives, in this case
possible other MMO models that are not owned by
profit companies.
Virtual worlds are the new factories in which workers/
players work and play, and online games, where work
interplays with enjoyment, can be considered as huge
manufactories. Everquest, World of Warcraft and
Second Life are nowadays the best known Massive
Multiplayer Online Worlds (MMO).
If we take the current move to marketing and branding
in these online worlds into consideration, Massive
Multiplayer Online Worlds (MMO) establish enormous
economical potential. When farming and selling online
goods and items, all that could be generally described
as immaterial labour. The concept of immaterial
labour was initially proposed by Maurizio Lazzarato to
describe situations where creativity, communication,
emotion, cooperation, and values were 'put to work' in
post-Fordist production processes. Although clearly
following decentralized networked trajectories, MMO
worlds are enclosed proprietary worlds, even up to the
present. Each MMO operates as the factory where
pro-duction is fully of bio origin, where there is the
owner, the management, the marketing and a
department for maintaining the production facility/
virtual world. The main income for shareholders of the
MMO world is not derived from the production of
inworld products, which remain the property of the
workers/players, but bio-production itself, which
means owning the process of production itself
(production of items in world/ immaterial products; the
process of in-world communication, product, items
trade) which means commodifing the play as an idea.
The difference to the typical modernist capitalist
industrial factory, where a product was owned by
capitalist/owner, is that products produced in MMO’s
are property of workers/ players. What is of value here
is similar to some other social websites, specifically
the number of visitors, players, inhabitants that are
wandering around, the energies and the time they
spend in this world. In that sense MMO’s are clearly
paradigmatical biopower machines, something that
authors Nick Dyer-Witheford and Greig de Peuter said
about digital games in general. According to them:
“Digital games crystallize in a paradigmatic way the
cultural, political, and economic forces of a global
capitalist order based on the mobilization of biopower.” In MMO games (with time based subscriptions) the old problem of “piracy” becomes
obsolete. Unlike the game industry that predominantly
focused on producing a product/game, multiplying
one single package and selling a product, a game,
MMO’s focus on selling time, thus minorizing the
importance of selling a game product (some MMO’s
can be downloaded for free, some not, but the major
References
Edward Castronova. Virtual Worlds. CESifo, 2001.
Maurizio Lazzarato. “Immaterial Labour,” in Virno,
Paolo and Michael Hardt, eds. Radical Thought in
Italy: A Potential Politics. Minneapolis, 1996.
Jean-Francois Lyotard. The Sublime. New York, 1982.
Greig de Peuter & Nick Dyer-Witheford. Games of
Empire: A Transversal Media Inquiry. Conference
Proceedings : Genealogies of Biopolitics, 2005.
Trading Virtual Loot. New York: Basic Books, 2006.
Shaviro, Steven. Money for Nothing:
Virtual Worlds and Virtual Economies , 2007.
4
Trialectics
Perceived Space
Conceived Space
Lived Space
(Henri Lefebvre)
5
Objects in mirror are closer than they appear
Beat Suter, game artist and theorist
“For it is with the same imperialism that present-day
simulators try to make the real, all the real, coincide
with their simulation models.” (Baudrillard 1998)
kameras blieb die Gegenrede aus. Diesen Punkt verdeutlichend schreibt Baudrillard in einer Anmerkung:
"Das eigentliche Monopol ist nie das der technischen
Mittel, sondern immer das der Rede." (118) Und es
sei eine Illusion, an eine kritische Verwendung der
Medien zu glauben, die Rede wieder zu erlangen ist
lediglich mittels Destruktion der Medien durch ihre
Dekonstruktion als System der Nicht-Kommunikation
zu erreichen. (101) "In einer symbolischen Tauschbeziehung gibt es simultane Antwort, es gibt auf beiden Seiten weder Sender noch Empfänger von
Botschaften, es gibt auch keine "Botschaft" mehr, also
kein in eindeutiger Weise unter der Ägide des Codes
zu entzifferndes Informationskorpus. Das Symbolische besteht eben darin, mit dieser Eindeutigkeit der
"Botschaft" zu brechen, die Ambivalenz des Sinns
wieder herzustellen und im gleichen Zug die Instanz
des Codes zu liquidieren." (111)
But there are still some holes in the matrix which are
slowly being mended by the semiocracy of the media.
Whoever wants to find the counter declaration has to
direct him- or herself to those holes. What Graffiti
started in the 70s continues today with virtual und
reality-hacks. Real Players attach tags to the world
with a data value of zero. Useless tags occupy the
switching zone between reality and virtuality, they
become game objects and start playing games which
may widen the gaps in the matrix, force a glitch or
even create a suction which sucks the whole world in.
Baudrillard notes: "The form of dissolution of the [...]
cybernetic and combinatorial world is the implosion. A
universe of electricity mains, combinatorial and
electricity longs for reversal and implosion."
RFID-Tags injected into walls of buildings and under
the skin of artists like tags for dogs will be redeemed
innocuously with zappers. Real, electric and electronic graffiti fluctuate between the worlds, and
sometimes they fold themselves over holes as inverse
objects and work on imploding the "simulcracy". Since
the latter tries to get the first world to disappear in
order to put the second world in its place, the former
objects (graffiti, hacks, tags etc.) try to implode the
power structures of both worlds with the intention that
reality cannot be made to disappear in its simulation.
Eine Gegenrede existierte allerdings zu jener Zeit: die
wilden Zeichen in den urbanen Zonen, die Graffiti, die
den in einem indifferenten Zeit-Raum existierenden
Codes ihren rebellischen Stempel aufdrückten. Der
Ausschluss aus den Medien war vollkommen, nicht
aber der Ausschluss aus den urbanen Zonen. Dort
war es möglich, dem politischen Instrument der
operationalen Semiologie eine Antwort zu geben. "Die
Matrix des Urbanen", heisst es bei Baudrillard, "[...] ist
die Realisierung einer Differenz (der Operation des
Zeichens)." (20) Die urbane Zone war also zur
Zentralstelle des Codes geworden. Ökonomie und
Kommunikation trafen da aufeinander. Vernetzung
und Besetzung hiess die Devise der Zeichen. Dies
hatten auch die Tagger und Graffiti-Writer erkannt, sie
begannen, ihre Gegenrede zu formulieren. Sie
schrieben sie auf die Oberflächen des Stadtraumes,
an die Wände und Mauern, Fenster und Türen, Tafeln
und Plakate, auf die Transportmittel und Verkehrswege, in Passagen und Sous-sols, Aussen- und Innenräumen der Stadt, veränderten, überklebten,
überschrieben, übermalten die operationalen Zeichen
und attackierten damit die Semiokratie von Politik und
Medien. Dies taten sie mit einem ihnen eigenen
Code-System, so simpel, dass es jeder verstehen
konnte und doch so komplex, dass es den herrschenden Code in Bedrängnis brachte. Nicht Ideologie oder Kunst war ihre Botschaft, sondern Leere –
und genau damit decodierten sie den medialen,
architektonischen Code. Der Aufstand der Zeichen
hinterliess und hinterlässt auch heute noch deutliche
Löcher in der medial urbanen Zone. Und dreissig
Jahre später ist dieser Aufstand der "Kool Killer" zu
einem Spiel geworden, das weltweit in praktisch allen
Städten mit leicht veränderlichen Spielregeln gespielt
wird, manchmal spielerisch und harmlos, manchmal
kathartisch, manchmal dramatisch und lebensbedrohlich: "I am your Nightmare.
Catch me, if you can!"
Baudrillard sagte 1978, die Massenmedien seien antimediatorisch, intransitiv und fabrizierten NichtKommunikation dadurch, dass sie den Sendeprozess
monopolisierten und keine Antwort zuliessen und so
den Tauschprozess in der Kommunikation verunmöglichten. Seine Hauptkritik: Eine Antwort war untersagt. Baudrillard bezog sich dabei auf die damalige
Fernsehkratie und hielt fest, dass die einzige Antwort
damals in Form der Simulation einer Antwort möglich
war, die aber bereits in den Sendeprozess integriert
war und also ein abgeschlossenes System der sozialen Kontrolle und Macht nur vervollständigte. In
den Medien konnte geredet werden, doch die Rede
blieb immer ohne Antwort, was die Machtverhältnisse
zementierte. Nur, wenn dieses Prinzip durchbrochen
würde, könnte der symbolische Austausch wieder
hergestellt werden. Enzensberger hatte damals durch
Gebrauch von Foto- und Audio-Apparaten durch die
Massen bereits eine Teilnahme der Massen am
produktiven Prozess sehen wollen, aber Baudrillard
widersprach heftig, denn der Gebrauch von neuen
funktionalen Gegenständen hiess noch lange nicht,
dass der individuell produzierte Content auch in die
Sendekanäle eingespiesen werden konnte und damit
eine Form von Antwort im medialen gesamtgesellschaftlichen Kontext erreicht werden konnte. Trotz
Foto-Apparaten, Tape-Rekordern und einzelnen Film6
Der mediale Streit um Rede ohne Antwort und Gegenrede hat sich aber mittlerweile auch in den virtuellen
Raum verlagert, fast so wie Baudrillard das bereits in
den 70er Jahren angedeutet hatte. Seit Einführung
des World Wide Web 1991 kämpfen die Medien mit
allen Mitteln um die Kontrolle des Feedback-Kanals.
Über zehn Jahre hat es gedauert, bis sich einzelne
Feedback-Kanäle durchsetzen und das RedeMonopol der Medien brechen konnten. Doch Wikis,
Weblogs, Podcasts, Video- und Content-Communities garantieren noch lange keine freie Zukunft
der Gegenrede. Immerhin reissen sie Löcher in die
mittlerweile vernetzte und technologisch gut abgesicherte Semiokratie. Doch die kann das nicht dulden
und verleibt sich die neuen Kanäle nur zu gerne
wieder ein und spuckt danach lediglich die Gräten
aus, wie das Napster und andere bereits schmerzlich
erfahren mussten. Dass sich diese Realitäten dabei
vermischen, ist wohl nichts weiter als ein Ammenmärchen. Denn was bei den Medien zu beobachten
ist, gilt wohl auch für die Mehrheit der Masse: Auch
heute noch wollen die Leute alles fressen, was ihnen
vorgesetzt wird, egal, in welcher Realität sie sich
wähnen. Und das so schnell wie möglich, so umfassend wie möglich, am liebsten mit Haut und Haar,
das Unverdauliche ausspucken und sofort weiter
gehen zum nächsten Happen. Das gilt vor allem auch
für die Simulationen der Realität wie in Second Life:
"Die Leute kommen, um zu berühren, sie schauen
sich alles so an, als würden sie es berühren, ihr Blick
ist bloss noch ein Aspekt taktiler Manipulation." (74)
Baudrillards Bemerkung von 1976 lässt sich ohne
weiteres auch auf die Auseinandersetzung mit dem
Virtuellen anwenden. Die Semiokratie hat das Internet
längst wieder übernommen mit den Marken Google,
Microsoft, Yahoo, Sony etc. CAUTION: OBJECTS IN
MIRROR ARE CLOSER THAN THEY APPEAR. Die
Simulationsmodelle sind so angelegt, dass sie nicht
etwa eine neue Welt simulieren bzw. einen neuen
Möglichkeitsraum öffnen, sondern sich möglichst mit
der Realität und insbesondere ihren semiologisch
ökonomischen Inhalten decken. Genau das aber eröffnet die Möglichkeit, die erste Realität Stück um
Stück verschwinden zu lassen und an ihre Stelle eine
zweite Realität zu setzen, eine gläserne Realität, die
von der Semiokratie durch und durch kontrolliert ist.
Vielleicht erwacht der Einzelne irgendwann und stellt
dann erschreckt fest, dass ihm die erste Realität
längst entzogen worden ist.
AvatarLiberationFront
(129,22,50)
References
Baudrillard, Jean (1976). L'Échange symbolique et la
mort. Bibliothèque des sciences humaines. Paris.
Baudrillard, Jean (1978). Kool Killer oder der Aufstand
der Zeichen. Berlin: Merve Verlag.
Baudrillard, Jean (1998). “Simulacra and Simulations”
in Poster, M. (ed) Jean Baudrillard, Stanford.
7
SGHMAM
Aileen Derieg, writer and media theorist
sghmam has a mission. Adeptly avoiding obstacles
and distractions to move quickly through the passageway to reach the door. Exit into the next. Rapidly
descending eight steps, quick turn, eight more steps,
then the next door. It's a heavy one this time, but
sghmam gets it open and passes through without
hindrance. Turn left, move straight ahead, turn right,
go straight, turn right, cut across a diagonal path, the
goal is in sight. Straight ahead is a small hut where the
needed items are to be obtained. The path is a
dangerous one, though. Large attackers suddenly
swooping in from either side could easily obliterate
sghmam before the acquisition of the needed items
can be successfully negotiated.
sghmam is completely absorbed by this world, filled
with intense emotions that accompany the exchanges
at this speed, skillfully juggling multiple tasks at the
same time. Feeling wise and witty and wonderful.
This isn't just a game, it's serious stuff. Whether the
"techgrrrlstalkingabouteverything" on the channel
#tgtae are "really" all grrrls is just as irrelevant as the
subject matter has long since become. Only the
communication itself is important, the exchange
among the various characters so vividly and colorfully
displayed in plain ascii.
<dancingqueen>, for instance, might well be a shy
grey office worker in another world, but in this world
<dancingqueen> always has something fascinating to
say and an appreciative audience. Here the invisible
laundry baskets that plague somebody's grey-haired
middle-aged mother are transformed into an enthralling challenge that <sghmam> undoubtedly has
the skills and power to master.
How can we be out of milk and bread again? Doesn't
anyone in this household ever take responsibility for
simple errands? Going out to get milk and bread
should really be a "somebody, somebody" job (The
Cat in the Hat Comes Back, by Dr. Seuss: "Somebody, somebody has to, you see, so she picked out
two somebodies...), but picking out even one somebody is likely to involve protracted and intricate negotiations with adolescent geeks today, so the task
defaults to somebody's grey-haired middle-aged
mother: me.
/me is feeling a bit irritated after too many
interruptions all day.
--> sghmam is feeling a bit irritated after too many
interruptions all day.
--> dancingqueen sympathizes and offers sghmam a
glass of champagne to relax.
/me smiles and accepts gracefully.
--> sghmam smiles and accepts gracefully.
There are brief moments where different realities
intersect, such as when a cup of tea is needed to
physically play the role of the glass of champagne.
brb
/away
--> sghmam will be back in 5 minutes.
As I side-step a basket of laundry that is still blocking
the hallway, I start to wonder how laundry baskets can
remain consistently invisible to everyone else in my
geek household. After briefly considering how the
laundry might possibly be moved to go down to the
cellar and hang itself up, I decide to ignore it too and
continue on my way out the door to go to the bakery.
The entrance door downstairs needs oiling again, but
then it is only a short walk to the little bakery kiosk at
the neighborhood market. I walk briskly down the
street, around two corners and cut across the parking
lot. As just another somebody's grey-haired middleaged mother, I must be completely invisible to the
drivers who suddenly back up out of the parking lot
without warning. Dodging cars, it occurs to me that I
forgot to check whether my adolescent geeks have
left me any money in my wallet. If not, I'll have to ask
the woman at the bakery to put it on my tab again, but
then I hope the friendly one is working today.
Making tea unfortunately involves maneuvering
through the disaster area that is supposed to be our
kitchen. Kitchen duty has obviously not been assigned today, and volunteers do not appear to be
forthcoming. By most standards, my household is a
disgrace, but the number of adolescents generally
gathered here seems to indicate that it is indeed
possible to live well and happily amidst the chaos. I
hope so. The transformation possibilities that arise
from living simultaneously in different realities seem to
help, I think. They certainly help me. Waiting for the
water to boil I look around at all the things in need of
being tidied and put in order, and I wonder what I'm
doing here. How did I end up being concerned with
dishes and laundry and bills to pay and errands to
run? Is this really supposed to be my life? I don't think
so. My real life is not here among the dirty dishes.
Having successfully negotiated the acquisition of the
needed items, sghmam quickly returns to the starting
point, ready to enter the next level. This time there are
questions to be asked and answered, complex and
intriguing and wholly beguiling.
/Join #tgtae.
--> sghmam has joined #tgtae.
--> sghmam greets the regulars, dives into the
discussion, fetching feeds and checking messages on
the side, searching manuals, solving problems,
technical snags and all great problems of the world.
On the screen a whole world opens up, vast and
enticing.
Enter.
10
SURF_IN ON THE WiiNING ATTITUDE
Dr. Jo Maier, design-theorist, irganic.com
THE SKY ABOVE THE PORT IS THE colour of a flatscreen, tuned into a Wii channel. Opaque whiteness
prevails while iColored environments smooth out into
almost grotesque reproductions of Miami Vice décors.
Current gaming devices are on par with a global
society's demands --- both are fostering transparency,
personal accountability, unlimited connectedness and
Wiillingness to fit into the game.
If only the PS3 would have gained some momentum,
at least simulated sweat and dirt could have had an
entry, back onto the graphic displays of our life. But
apparently, a piano-white, gold, silver, pink, or black
finishing is not enough to make its way into our living
rooms. Because the displayed surface of a Wiinning
channel is glossier even in its monochrome variety.
The INFINITELY OPAQUE WHITE-SPACE out of
George Lukas' (1971) yesterday's sci-fi-nightmare
THX 1138 has become Wii-channel's inspiration. Out
of Master Lukas' dystopian debris, a glossy polar star
has risen, for to illuminate game play's horizon. From
here to eternity, all we have left is a Second Life. But
we all know that getting another life in Second Life is
cheap, no thrills excluded.
In your office or in front of any other flat-screen of your
choice --- in fact succeeding in either world works out
pretty much the same.
Caution: OBJECTS ON YOUR FLAT SCREEN MAY
BE CLOSER THAN THEY APPEAR. Wii are getting
used to re-creating whatever & whoever we were into
a series of Miis. These Mii-channel success characters help to realise coming quests and victories. And
Miis cater to this with the freedom to face every new
quest with a different persona. Thus they prepare us
for one of the key lessons to master the high and low
tides throughout the currently liquid global society:
private and professional relationships and therapy
alike, begin with the creation of Miis --- interchangeable characters and hedge funds against personal
disorders. New game, new Wii, new hope. Profession
-al employers internalized this mantra some time ago
and willingly supply adequate support and development processes, facilitating self-mobilising practices
for the chosen ones who are already apt to surf_in on
the Wiinning attitude.
Aesthetically, the look and feel of Wii channels is like
the coming corporate design of any other global
player. I bet Siemens wished they could re-do their
website in Wii-style, and Credit Suisses' next cheerful
upbeat art-of-banking-imaginary will come swooping
in as a Nintendo look-alike. Today it seems like a safe
bet to argue that THE HIPPIES DID TO THE LATE
70S, WHAT WII ARE DOING FOR THE 21ST CENTURY. They were anti-authoritarian, open-minded,
drug-friendly and out to change the world. And all that
survived was the Internet. Wii are globally connected,
apt to create and fit into any suitable character, used
to monitoring our performance. Wiilling to stay_in and
adapt the game by means of display_in our best
practices as walk-throughs on Youtube. And just as
the hippy culture spectacularly failed to live up to their
programme, Wii will fail to live up to our potential as
well, unless the providers of our very material existence, large and medium-sized corporations, make
use of this Wiinning attitudes' peculiar sensitivity. Wii
will supply all they ever dreamt of --- if only they will
deliver adequate supplies of the right console.
Running the annual marathon is no longer good
enough as proof that you can do it --- it takes DS brain
jogging and regular Wii fitness tests as well. What a
relief, to finally match my real age through Wii’s
biofeedback routines. Reassuring to learn that I am
doing well enough, game-wise, too. In_built target
monitoring is one of the increasingly rare un-equivocal
feedback systems. THE CONSOLE’S USER-CENTRIC COMMUNICATION BEAUTIFULLY FACILITATES OUR GAMING PROCESS AND PROG-RESS.
And Wii are getting used to get better every time in a
straightforward way to an extent that our human
resource departments could only dream of.
Wii all know, that Wii Sports is in desperate need of an
on-line mode, or the option to trade in the digital
currency of your choice for mightier opponents. These
so-called ‘PROs’ in the tennis game are just no match
any longer. But in its early days, the Wii taught us a
powerful primary heuristics: behave as though whatever Wii are doing was natural. For example, to Wiin_
in Tennis, mimicking old-school tennis playing marks
a good beginning. Then you eventually find out that
your game play is becoming more successful, THE
MORE YOU EXPERIMENT WITH DIFFERENT
WAYS OF DOING IT YOUR OWN WAY. In my case,
sitting to play and just moving my arms worked
infinitely better than running around the living room
like John McEnroe. The key is to learn how to twist
and bend the free space in between the cybernetic
loops that are incessantly re-creating (y)our playground. Far more effective than The Matrix, Wii taught
us to adapt and bend our behaviour for a better
performance --- because only Wiinning counts.
Narrator: Parallel-universe-wise, as Wii channel’s
antecedents, we have had Daniel Paul Schreber, The
Matrix, Jacob's Ladder, Jean Baudrillard, The
Butterfly Effect and Brazil --- Interviewer: Deputy
minister, what do you believe is behind this recent
increase in terrorist bombings? Helpmann: Bad
sportsmanship. A ruthless minority of people seems to
have forgotten certain good old-fashioned virtues.
THEY JUST CAN'T STAND SEEING THE OTHER
FELLOW WiiN. If these people would just play the
game, instead of standing on the sidelines heckling -- Interviewer: In fact, killing people --- Helpmann: --- In
fact, killing people --- they'd get a lot more out of life.
11
Von PCG zu CMG und das Abfallprodukt 2ndLife
P.M.Ong, Culture & Management Consultant
"Ein Medium wird erst dann von einer breiten Masse
akzeptiert, wenn die einzelnen Personen lebende
Menschen hinter dem Medium sehen."
(Aus einem zürcher Open-Space-Gespräch)
Medium wie Text (Brief, Zeitung) oder Ton beim
Telefon oder Bild beim Fernsehenn degradiert. Das
Medium Spiel bietet lediglich noch den Spielrahmen
(sei es bei Quake, Unreal Tournament, WoW), es
setzt die Regeln und überwacht sie, ist ein kompliziert
einfaches i (interaktives) Zeichen wie Unreal Tournament oder Doom - „das Spiel ist die Bank“ wie man in
Monopoly sagen würde, der clevere Verwalter. Es ist
der Moment, wo Personen im Multiplayer anfangen
die NPC und KIs auszuschalten und nur noch gegen
sich selber zu spielen. Die Menschen beginnen unter
sich zu spielen, maximal noch Quests entgegenzunehmen (wie in WoW), aber prinzipiell geht es
darum, das Spiel miteinander als Gruppenerlebnis zu
spielen. Für den Einzelnen erscheint dabei die Welt
fairer, berechenbarer und akzeptierbarer. Hinter den
anderen interaktiven Zeichen stehen nun Menschen.
Das Medium "Computerspiel" wird zu einem Vermittlermedium, wie in den anderen klassischen Medien,
derer man sich bedient und dabei vergessen die
Menschen das Medium - frei nach dem Motto: The
medium is the message.
Dies ist eine Beobachtung zum Thema Internet und
Medien, beschreibt aber auch einen Transformationsprozess, der in der Spiel(e)kultur vonstatten geht. Das
Medium Spiel wird für eine "breite" Masse attraktiv.
Personal-Computer/Video-Gaming(PCG)
In den 70er/80er Jahren wurde vor allem gegen den
Computer gespielt und aus Pong wurde Breakout,
aus Spacewar wurde Asteroids und so weiter. Die
Erfindung lag dabei im Moment, einen Prozess zwischen zwei Personen in ein Spiel gegen den Computer zu verwandeln. Man erfand die Levels, die verschiedenen Enemies und KIs oder auf einen Nenner
gebracht: PacMan. Aus dem gemeinschaftlich beworbenen Spielen einer Familie wurde das noch persönlichere Personal-Gaming. In dieser Art des Spielens
war der Mensch nur als Abstraktum in der Maschine
fassbar, nicht sichtbar höchstens als Programmierer
und Designer entfernt fass- und wahrnehmbar. Das
Gegenüber war ein PC oder eine Konsole, die agierte
und reagierte. Der Spieler im (PCG) Personal-Computer-Gaming spielt in eine Kiste, seine private Kiste
(im Gegensatz zum Grossrechner mit seinen MUDS
etc). Der Rechner war ein Arbeitsgerät, ein Speichermedium in einer technikfeindlichen Zeit.
Zunehmend beginnen Personengruppen zu spielen
(an die 10+ Mio), die sonst nicht gegen die anonyme
Maschine spielen würden. Es ist der Chat-Moment,
dass das Handeln ein Ziel in der Gemeinschaft haben
kann (einen Partner, den man kennenlernt oder
menschliche Netzwerkpflege oder man will eben Teil
einer Gemeinschaft sein). Diese Ziele sind allgemein
akzeptiert und werden meist nicht in Frage gestellt.
Die Spielerzahl beginnt dadurch eine Dimension zu
erreichen, wo es nicht mehr um den eigentlichen
Inhalt geht, sondern um den Gruppen Effekt, frei nach
Luhmann, dass man Zeitungen meist nicht lese, um
zu wissen, was passiert ist, sondern um am nächsten
Tag in der Community etwas besprechen zu können.
Vom Personal Gaming (PCG)
zum Computer Mediated Gaming (CMG)
Das Medium wurde dann vermehrt akzeptiert - wie die
These oben vermutet - als man eine neue Perspektive einführte mit Myst oder Doom, wo der Spieler
zumindest vermuten konnte, dass sich hinter der Perspektive ein Mensch zu verstecken schien, bzw. alles
sich so verhielt, wie wenn es ein Mensch wäre. Die
3dimensionale Zentralperspektive war ein Akzeptanzsprung (Wie schon in RealGamer beschrieben) und
gleichzeitig der Start für den Wettlauf um den "HyperRealismus". Der Realismusdrang wurde beim Wii nun
auch noch auf den Controller übertragen. "Zeit für
Innovationen beim Start einer Konsole" kann man da
den MS-Schneidern dieser Welt nur zu rufen. Die
Fraktion der bürgerlichen Spieler wird es freuen: Denn
endlich kann man wie - beim EyeToy - beim Sport abnehmen und erlernt sogar noch taktile Skills. Damit
macht Nintendo einen weiteren Schritt in Richtung
Community-Gaming. Es ist Zeit das Spiel wieder auf
den Körper auszudehnen, dem kopflastigen Homo
Ludens einen Körper zu geben, eine Bewegung. Man
darf gespannt sein, wie die Gameindustrie langfristig
mit körperlich Behinderten umgehen wird.
Eine Differenz:
Wow vs Second Life - gewollte Anbindung
Genau dieser Effekt spielt nun hinein, wenn so etwas
wie Second Life die Szene betritt und nun mit Schub
von WoW oder EveryQuest popularisiert werden
kann. Hier gibt es keine NPC (NonPlayerCharacter),
hier gibt es nichts mehr das stören könnte, keine im
Spiel auferlegten Quests. Kann man WoW noch
vorwerfen ein bürgerliches Spiel zu sein, so ist nun
Second Life die logische Konsequenz eines
Bürgertums und die Reinigung von WorldOfWarcraft
(WoW versucht das Handeln von Waffen etc. zu
unterbinden). Bei Second Life wird nicht mal mehr
versucht eine spielerische Tabula Rasa aufzubauen.
Grundkonzept ist es, eine feststehende Verbindung
zur Realwelt zu halten, über einen Linden-DollarWechselkurs. Die Akzeptanz von Second Life wird
gesteigert indem das Bürgerliche totalisiert wird, es
geht ums Geld verdienen, um eine kleinen Ausweg
Computer-Mediated-Gaming(CMG)
Der massivste Akzeptanzschub ist aber die Vernetzung. Der Computer wird dabei zunehmend zu einem
12
aus der Welt und doch die Hoffnung drin zu bleiben.
Der Kapitalismus spiegelt sich total im Produkt
Second Life. Jeder einzelne arbeitet darin und produziert Inhalt und bezahlt am Ende des Monates auch
noch Gebühren dafür drin zu bleiben, als ein weiteres
Machtelement der Gesellschaft:
"Es ist eure kleine Droge, geht da raus und lernt, was
es zu lernen gibt: Die Realwelt."
Hier kann auch der letzte Rezipient dahinter
Menschen und menschliche Gesetzte erkennen, das
Medium kann total akzeptiert werden und erscheint
für die Masse noch als Spiel.
digitale Medium ernst nahm), so zeigt sich heute,
dass es eine lausige Utopie des Massengeschmacks
war, eine Vorstellung des Vorstellbaren der breiten
Masse und 2ndLife ist seine Entsprechung.
War Snow Crash 1994 noch ein Witz, weil es nicht
annähernd an Neuromancer heran kam (der das
Essen wir die bittere Pille. "The desert of the real" ist
nichts weiter als die Vorstellung der Menschen selbst.
Als sich Neo in die Lüfte erhob am Ende von Matrix,
dachten viele: "Wie kann der Fliegen, wenn er so eine
gute Engine hat." Heute wissen wir, Neo ist die
Verkörperung des durchschnittlichen Denkens dieser
Gesellschaft, eine Welt ohne Vorstellungskraft und die
Funktion „fliegen“ seit fünf Jahren ein Knopf am
unteren Ende des Bildschirm von Second Life.
heterotopologies and trialectics of space, knowledge, and power. Michel Foucault
13
HANDSOME DEVIL
Doris C. Rusch, game scholar
“So, you’re probably asking yourself how a handsome
devil like me ended up in a place like this with you?”
things this role allows the player to do. For me, this
makes the fps used by current games quite unattractive, because I find it hard to adopt the roles
these games currently offer. I have no affinity to shooting a gun just for shooting’s sake. Give me a story, a
strong character to identify with, and maybe it will
make sense to me. Also, the roles suggested by fps
games are mostly male, the hands you see belong to
a man. Yes, I can role-play a man. No problem. I have
done it many times before. But I cannot cope with too
much freedom. I need the constraints of a story and a
clearly defined role to give in to the illusion of being
someone else. I need some input to get my imagination going, to know who I am and how I am supposed to feel.
As part of my research project about “involvement and
meaning-making mechanisms of dramatic computer
games”, I’m sketching out a game to illustrate my
concept of the dynamic generation of meaning. And
inevitably, one question occurred right at the beginning: Should it be a first person or a third person
game? I caught myself answering this question intuitively. Third person, I decided, since I don’t like first
person games. But is it really the perspective that
bothers me or the games that use it? That got me
thinking about the relationship between the implied
player and his or her avatar. After discussing this with
students and colleagues, especially Nikolaus König, I
would like to offer here a personal and deliberately
female view on the question of placeholder design in
computer games.
Fps does not care how the character feels, because it
tries to create the illusion that there is no difference
between character and player. “This is you”, it
suggests, “now, imagine how you would feel!” And this
is where it becomes most problematic, because of the
translation processes taking place when playing video
games. One aspect of this translation process is that
player input, be it a mouse-click or joystick manipulation, is translated into on-screen action (like shooting,
running, pushing, climbing). That is ok, because it is
easy to make the mental connection between one
action (click) and its on-screen response (boom). But
the translation process also works on an emotional
level. Games are all about experience and emotions.
Now fps – aiming at a minimal gap between player
and role – raises the expectation of making the
(assumed) emotions of in-game character and player
match. This is impossible, however, regardless of
which strategy you use. It is not a matter of intensity
either, but of principle. The assumed emotions experienced by the character who is falling into the abyss
are, by their very nature, different from the emotions
the player responsible for missing the ledge will feel in
the moment of disaster. Instead of intense fear, she
will probably feel frustration or anger.
Now, as I said before, fps emphasizes agency, and
games relying on the pleasures of agency do not
need an avatar at all. But for the game-play to completely take over and push the fiction into the
background along with questions like “who am I, why
am I here and what does it all mean?”, the fictional
worlds of these games are too vivid, too concrete. I
feel alienated by a World War II setting, and I find it
hard to play the role of an undefined soldier, because
it is so far away from who I am in real life.
For the translation process to work I need an
interpreter, and in tps games I get one. Strong
characters like Ash, the chainsaw-swinging supermarket attendant from the “Evil Dead Series” serve
this function. You do not see through them, the way
Espen Aarseth suggested once: “(t)he dimensions of
Lara Croft’s body (...) are irrelevant to me as a player,
After thinking about third and first person games for a
while and the different ways they influence the playing
experience, I noticed that the two terms had become
synonymous in my mind for two distinct strategies of
placeholder design. Every embodiment of the player
on screen consists of two components: a role that is
more or less clearly defined by the game and the way
this role is interpreted and played by the player. The
strategy I associate with first person games (but which
is sometimes also employed in third person games) is
to minimize the gap between the player and the role
she takes on screen. The strategy I associate with
third person games is to offer the player a clearly defined identification possibility, including a visible avatar with a personal history and strong personality
traits. Sure, more and more games allow the player to
choose between third or first person perspective, but
that does not really change the strategies these
games employ to draw the player into the world.
The “first person strategy” (fps) tries to lure the player
into the world by blurring the boundaries between
reality and virtuality. Much emphasis is put on agency,
on the illusion of reaching through a portal (rather
than sitting in front of a computer screen) and manipulating the game world with your virtual arms. The
less you are distracted from this process of becoming
part of the game, the better – or so goes the argument
for fps. For this reason only parts of the body are
visible (except for cut-scenes and when passing
mirrors etc.), and sometimes you are told that you
have lost your memory, making it plausible that at first
the player is disoriented and a little lost. The effect
should be (almost) total immersion.
But the chance to transform into a game character
can quite easily become an insurmountable challenge. Whether or not it is met strongly depends on
the player’s affinity to the role the game offers and the
14
because a different looking body would not make me
play differently.(…). When I play, I don’t even see her
body, but see through it and past it.” (Aarseth 2004,
p.48). Playing the “S-Mart-Ass” Ash certainly makes
you play differently. Running for shelter screaming or
ducking cowardly behind corners just wouldn’t do.
Auto-talk utterances like the one used as the title here
give you a pretty good idea of the kind of guy you are
playing, thus altering the whole experience of an
otherwise quite conventional game. A cheesy oneliner like: “When you’ve just emptied two barrels of a
shotgun into the face of your favorite bartender, you
can pretty much bet that happy hour’s over...”
certainly shapes your perspective. By helping me
understand who I am in the game, tps helps me to
establish a stronger connection between the way the
game-play makes me feel and the way I am supposed
to feel as the character I am playing.
Of course, role playing games (and somehow I am
strongly inclined to include games like “Hitman” and
“Max Payne” here) take this a step further, setting an
identification process in motion that becomes even
stronger during play instead of wearing off. I play a
high-elf ranger in Everquest 2, named Theaora. The
class description – ranger – is a description of personality traits as well as a hint of the kind of abilities one
will have when playing this class. Subtlety and
cunning translate into long-range and stealth attacks
and attacks mounted when behind the target. Using
the ranger-specific attacks in the right order during
combat is awarded with much better results than
ignoring them. By playing by the rules of the ranger
class, little by little you become the subtle and
cunning bastard the designers have intended the
ranger to be. You go nowhere without using stealth,
sneaking up behind an enemy becomes second
nature. (Looking at your character certainly is another
important aspect of role-playing.)
Personally, I will probably always prefer third person
strategy to first person strategy, because it allows me
to explore not only a world, but also a character. As far
as my game sketch is concerned, I’m still not sure.
The relationships between player types, their avatars
and preferred perspectives have to be explored more
thoroughly before we really understand what works
how, for whom and under which circumstances.
References
Aarseth, Espen (2004): Genre Trouble: Narrativism
and the Art of Simulation. In: Wardrip-Fruin, Noah /
Harrigan, Pat: First Person. New Media as Story,
Performance and Game. Cambridge
Evil Dead: A Fistful of Boomstick: THQ, 2003
Everquest II: SOE, 2004
Hitman – Blood Money: IO Interactive, 2006
Max Payne: Rockstar Games, 2001
15
Five Assumptions for Real Play
Daphne Dragona, game arts curator
“Play is a free activity, standing outside ordinary life,
as being not serious but at the same time absorbing
the player intensely and utterly. It is connected with no
material interest and no profit can be gained by it. It
proceeds within its proper boundaries of time and
space according to fixed rules and in an orderly
manner. It promotes the formation of social groupings
which tend to surround themselves with secrecy and
to stress their difference from the common world by
disguise or other means.”
to people to recover control over their own lives and
environments. [Fiambrera: Bordergames, real life
workshop & videogame]
4th assumption
To geopolitical ex-war zones, where people form collaboration networks. Artists, art critics, writers, curators from Southeastern Europe contributed projects,
experiences and beliefs for the creation of The
Making of Balkan Wars: The Game. Focusing on the
social and cultural issues of the Balkan Peninsula, the
video game created, counteracted the sensational
spectacle of war as this was presented by the media,
deconstructed stereotypes, focused on the distortion
of identities, and revised the dominant logic of explanation. With avatars inspired by classical Balkan
characters representing local prejudices and beliefs,
users were taken on a journey to test their balkanisation. [Personal Cinema: The Making of Balkan
Wars: The Game, online 3D multi-user video game]
Master Huizinga may have been right in terms of play
theory, but if we try to apply this definition to today’s
virtual online gaming worlds, we might indeed need
some adjustments. Online gaming worlds are
becoming ordinary life. Connected to material interests they even generate their own economies. Time
and space seem limitless. Users are absorbed more
and more by their avatars’ identities, by their 'second
life', by their new characteristics and behavioural
patterns. Immersive game environments are fascinating and promising and maybe seem closer to reality
than ever. Pas mal!
But, what about real play?
Real players? Where are they today?
5th assumption
To the military virtual training where intervention
reverses the rules. In a game that thousands of young
Americans log in to and play, Joseph Delappe gets in
and with his login name ‘dead-in-iraq’ types names,
names of real soldiers that died in Iraq. His
intervention has been considered as spam and antinational and has annoyed users. But at the same
time, it has been a political anti-war action in a
propaganda game, where play takes the form of a
performance and reminds users of reality and of the
real players in the war outside. [Joseph Delappe,
Dead-in-iraq, on line gaming intervention]
1st assumption
Back to the streets, to the banlieues of Paris and
anywhere in the world. “The suburbs in France and
elsewhere are not built for living but for playing, either
with cars or bikes or with your own body as a game
character.” The building jumpers are players of today’s lives. Props can be added to them as it happens
in the MMORPGs. Their play level can be indicated by
a game status bar. A real life clip is then made, massively re-pixelated where play can regain its philosophical notion, as it is preserved for all the real
players found in real cities today.
[the Ludic Society: ready played, video installation]
All assumptions stand. Life and play, play and life
have always merged and will continue to affect one
another. Virtual worlds will continue to expand, to gain
users, to offer exciting experiences. And at the same
time, artists following their famous predecessors of
the 20’s and 60’s, the Dadaists and the Surrealists,
the Situationists and Fluxus, can see beyond the
dominant media structures and use play as a means
of reversing the rules and present alternative ways of
playing and perceiving. Stereotypes are challenged,
hierarchies are hacked and rules are broken. The
inspiration, however, is always out in the streets.
2nd assumption
In our own ‘real identities’: Big white letter signs can
be created with your name, in a size appropriate to
your body type. Like in WoW or SL, you are then able
to move inside a city with your name on top of your
head. Others can address you and talk to you using
your name. Anything is possible, as it is in online
worlds. From the artists statement: You will only need
another person, a friend to kindly carry the sign for
you so that you can move freely.
[Aram Bartholl: WoW, performance]
“Everyday life is not everything – although its osmosis
with specialized activities is such that in a sense we
are never outside of everyday life. But to use a facile
spatial image, we still have to place everyday life at
the center of everything. Every project begins from it
and every realization returns to it to acquire its real
significance. Everyday life is the measure of all things:
of the fulfilment or rather the non-fulfilment of human
relations; the use of lived time; of artistic experimentation; of revolutionary politics.” Guy Debord
3rd assumption
To the margins, to exception zones where real people
live and real video games are designed. In Madrid, a
group of young Moroccans created a video game
about their lives with the assistance of the collective
Fiambrera. But play is for real, and it is given as a tool
16
www.odysseykunst.com
Odyssey
Poorhouse
(120,48,26)
(170,161,57)
The Ludic Society, as an international association of
currently 45 members, provokes a novel discipline
around the conceptual disjunction of game and play.
Issue # 1 (2005)
Issue # 3 (2007)
Issue # 2 (2006)
Issue # 4 (2007)
The live online event of the LS magazine #4 release
takes place at Odyssey, a widely known arts and
game repository in Second Life, hosted by code
performers and designers.
The experiment is supported by the Second Life
research group of IAD/Gamedesign, HGKZ
University of Arts and Design Zurich.
Ludic Society Magazine #4
www.ludic-society.net
Editors: Jahrmann/ Moswitzer, Zurich 2007
private publishing house
Printed by Ropress
Proofreader: Aileen Derieg
Graphics: Max Moswitzer
ISBN 3-902389-01-X
res
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